Bengal Biennale: New Strokes On Tagore라이브 바카라 Canvas

Cultural erasure, the struggle for preservation and a Santhal village that becomes a metaphor for the forgotten communities in our society—Mithu Sen—in her first exhibition in Shantiniketan transforms the village of Pearson Pally into a declarative canvas in the inaugural Bengal Biennale. Young Santhali children, her collaborators in the project, ‘I am Ol chiki’, have meticulously painted the houses in this community in strong black and white murals with the letters of the Ol chiki script, something even the Santhal community itself knows very little about. Turning the mud walls into canvases, Sen and her collaborators mark their presence on Bengal라이브 바카라 landscape. The Bengal Biennale, inaugurated at Shantiniketan in its first phase, provides space for many such alternative presences.

Like Sen라이브 바카라 work, art as a political tool is the crux of Nikhil Chopra라이브 바카라 performance-based live painting. From under a grey calico cotton canvas, he emerges laboriously, bites a piece of charcoal and smears it on his mouth. The audience becomes an active collaborator in his painting of a deluge, the one he faced during his first visit to Shantiniketan. His artwork, ‘When Land Becomes Water’, muses about the state of the fragile ecological system.

Reclamation of space and collective memory are recurring themes of many works in the Biennale.

For the young artists of GABAA, the Biennale offers opportunities for collaboration. Ex-students of Kala Bhavan, Shantiniketan, Ritushree Mondal, Himanshu Sharma, Rabiul Khan and Surajit Mudi in collaboration with the Homemakers of Birbhum, have created ‘Kanthar Ghor’ (a house of Kantha). These women are not trained weavers or embroiderers by trade; they usually sew in quiet domestic spaces for their families.

Here, stitching becomes an act of self-recognition for them, much like the murals in Pearson Pally. The ownership of memory and space thus becomes the driving factor in Kanthar Ghor, where biographies, however mundane, are stitched into the pieces.

The works also open new possibilities of cultural assimilation and an opportunity for mutual learning from communities. The idea is equally reflected in the work of Eva Zanettin and Raghav Pasricha. Their film, Crossing the Divide, along with the photo exhibition that has found a home in Sanatan Siddhashram, the ashram of singer and mystic, Parvati Baul, explore the concept of love and humanism propagated by the Bauls and fakirs through centuries in their verses. For the duo, it라이브 바카라 a way to open up these conversations and the philosophy of humanism to a larger audience. The film, shot over months by the two of them while staying with the Bauls, explores their distinct traditions and identity in detail. For the Zanettin and Pasricha, it was a vehicle for collaboration and interpersonal learning.

The mythological artworks of Devdutt Pattanaik at the Biennale weave stories through symbols. ‘My Truth’, his aptly named exhibit, acknowledges the traditions of the world along with his own non-linear thought process.

The Bengal Biennale, through its efforts to work with the global and the local in tandem, sparks a wide range of dialogues and aims to find new ways to sustain a conversation even after the curtain drops.